Dread
In Gulliver's Travels, Jonathan Swift imagines a race of beings who are immortal. Gulliver is astonished to hear this news, and imagines that they must have the utmost happiness and prosperity since they have overcome that most basic human problem: death.
Swift reverses this formula however: the life of the immortals is one of continual agony, pettiness, and boredom. To cut to the chase, Swift's essential insight is that death is not the problem, life is. (This is why, in a recent examination, I attempted to argue that, along with 1984, Gulliver's Travels is a fundamental anti-utopian text. That is to say that these texts are not dystopias warning of some nightmare version of the future, but instead they represent a reproach to the very idea of utopia. Swift's indictment of existence is but one aspect of his attack on those who would propose utopian solutions, but it is the bedrock that supports all the rest.)
A common thread to many of the thinkers I regard highly (Cioran, Schopenhauer, Hamlet) is this belief that existence is the true source of dread, and not a fear of death (as thinkers such as Heidegger maintain*). Suicide is, as Cioran said, too late. It is best to not be born at all:
*It occurs to me as I write this to consider the bold final movement of The Thin Red Line, a film that has been described as cinematic Heidegger. I have argued in the past that the final moments of the film's main character represent a victory over death through personal sacrifice, and despite my differences with Heidegger I think this is still probably the best description of what happens. Considering what I wrote above, it is perhaps possible to see it as victory over fear, a victory that the character himself wishes for at the beginning of the film (he asks for a sense of "calm"). In this sense he conquers the dread of existence through a passive acceptance of death. A moment worth thinking more about...
Swift reverses this formula however: the life of the immortals is one of continual agony, pettiness, and boredom. To cut to the chase, Swift's essential insight is that death is not the problem, life is. (This is why, in a recent examination, I attempted to argue that, along with 1984, Gulliver's Travels is a fundamental anti-utopian text. That is to say that these texts are not dystopias warning of some nightmare version of the future, but instead they represent a reproach to the very idea of utopia. Swift's indictment of existence is but one aspect of his attack on those who would propose utopian solutions, but it is the bedrock that supports all the rest.)
A common thread to many of the thinkers I regard highly (Cioran, Schopenhauer, Hamlet) is this belief that existence is the true source of dread, and not a fear of death (as thinkers such as Heidegger maintain*). Suicide is, as Cioran said, too late. It is best to not be born at all:
Life is pain. And life persists, obscure,/but life for all that, even in the tomb...Suicide is unavailing. The form/is changed, the indestructable being endures...There is no death. In vain you clamour for death,/souls destitute of hope.
*It occurs to me as I write this to consider the bold final movement of The Thin Red Line, a film that has been described as cinematic Heidegger. I have argued in the past that the final moments of the film's main character represent a victory over death through personal sacrifice, and despite my differences with Heidegger I think this is still probably the best description of what happens. Considering what I wrote above, it is perhaps possible to see it as victory over fear, a victory that the character himself wishes for at the beginning of the film (he asks for a sense of "calm"). In this sense he conquers the dread of existence through a passive acceptance of death. A moment worth thinking more about...
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